
International
We have earned recognition in international circles as speakers and innovators in disability arts
During the past decade there has been a dramatic increase in the demand from international partners to see work by disabled artists. Much of this strategic work is within countries where national bodies and governments are looking to advance disability equality and have identified culture as a way to do this. As creators of high quality work we have been ideally placed to capitalise on these opportunities. Working closely with the British Council we have earned recognition in international circles as speakers and innovators in disability arts – we are in demand for overseas touring, mentoring and development.
“The practice of disabled artists – e.g. Claire Cunningham, Birds of Paradise/Robert Softley Gale [is a distinctive model internationally]. These artists were championed through policy and funding interventions…”
from ‘As Others See Us: What Makes Scotland’s Cultural Sector Distinctive?’, British Council Scotland
The international work of the company has been developing over many years, with visits to Holland, Brazil, Rwanda, Mexico, Bangladesh and other countries to deliver training, workshops and presentations of and on our work and methods. Our profile on Disability Arts International can be viewed here.
Current international work
We have created two new shows overseas –
- Urod: The Last Show (2016) was made in Siberia at the Skomorokh Puppet Theatre working with the Skomorokh Company and Deaf Theatre Group Indigo. The show received a Moscow Golden Mask Theatre Award Nomination.
- In Hong Kong and Glasgow we staged major experimental digital work as part of the Shakespeare Lives Festival Miranda and Caliban: The Making of a Monster (2016). The work in Hong Kong has enabled us to build long-term relationships with Arts with the Disabled Association Hong Kong, The British Council and Hong Kong Academy of Performing Arts.
We also began a long term relationship developing D/deaf and disabled work in the Netherlands and toured Wendy Hoose to Spain in 2016.
Key International Touring
| 2010 | ‘Clutter Keeps Company’ by Davey Anderson Mon 31 May & Tues 1 June at Klebelsberg Kultúrkúria, Budapest, Hungary Friday 4th June at TEATRO ODEON, Lumezzane, Italy |
| 2016 | ‘Urod! The Last Show’ 31st March – 24th April at Skomorokh State Puppet Theatre, Tomsk, Russia ‘Wendy Hoose’ by Johnny McKnight Fri 20 – Sat 21 May at Teatro Valle Inclán, Madrid, Spain Sat 28 May at Teatre El Musical, Valencia, Spain ‘Miranda and Caliban: The Making of a Monster’ Saturday 5th & Sunday 6th November at Centre for Contemporary Arts, Glasgow & Kwai Tsing Theatre Black Box Theatre, Hong Kong (Simultaneous connected performance) |
| 2019 | ‘My 2nd – 3rd May at Shizuoka Arts Theatre, Japan |
| 2023 | ‘Super Special Disability Roadshow: Live’ Friday 17th to Sunday 19th March at No Limits Festival, Hong Kong |
In early 2018 we were undertaking work in Mexico and Rwanda on behalf of the British Council. In Mexico, outgoing Artistic Director Garry Robson delivered training alongside BOP friend Kinny Gardner.

Workshop participants identified several key benefits –
- It educated artists on creative access, aiming to diversify audiences and challenge existing attitudes towards disabled people.
- Participants gained practical skills, such as improving presentations for disabled audiences, incorporating sign language, and enhancing work for blind audiences.
- The program inspired a re-evaluation of working practices, encouraging participants to include disabled people in their creative workforce, integrate access solutions into projects and workplaces, and consider diverse needs in their work.
- Participants planned to expand their networks by building relationships with sponsors and other organisations to support disability and access projects, including creating accessible versions of existing works.
- Finally, participants expressed a commitment to fostering a culture of acceptance, exploring new perspectives by collaborating with people with different abilities, and applying creative access principles to future projects, including incorporating audio description, checking accessibility, and using creative access to enhance communication.


